The bequest of Imre Baász is proof of the progressiveness of his thinking, the innovativeness of his artwork, and the dynamic cooperation in which he engaged in times of political, cultural, and intellectual oppression. In the 1980s, the progressive, radical creative work was detached from the capital Bucharest, which served as the perpetual center. In this reversed centrum–periphery relationship, the periphery offered more freedom, and it ensured security and the possibility of invisibility. An important example from Transylvania of the micro-groupings which promoted progressive ideas and Western European styles and methods is the MaMű Association of Târgu-Mureș, which actively encouraged the practice of concept art, mail art, action art, and abstract artistic language in general. Imre Baász, though never an official member of the MaMű, shared their artistic view and language, and his work in the town of Sfântu Gheorghe can be considered as the prolongation of the Association’s work.
- Sfantu Gheorghe, Sfântu Gheorghe, Romania
- Imre Baász: Bar breaker [A rácstörő/ Spărgătorul de gratii], linocut, 1976
- Imre Baász: File [Dosszié/Dosar], 1973, aquatinta, 45.1x34 cm
- Imre Baász: Step by step [Lépésről lépésre], 1983, mail art
- Imre Baász: The Burial of the Suitcase [A bőrönd elásása], 1979, performance
- Imre Baász: The Chances of Survival [A megmaradás esélyei/Șansele supraviețuirii], 1981, installation
- Migrating Birds [Vándormadarak/Păsări călătoare], 1984, silkscreen print